​Jennifer Lopez has been hinting at a collaboration with Cardi B for months now, and on Tuesday (February 6), she finally confirmed that the the two New York natives are indeed making a song together.

“I feel like you already know that I collaborated with Cardi B,” she toldLatina.com. "The name of the song is ‘Dinero.’ I don’t know what the video is going to be yet but we’ll see what we come up with.”

Although the news is exciting, it's not all too surprising. The biggest tip came in late December, when J-Lo's beau Alex Rodriguez posted an Instagram Live video of her and DJ Khaled chatting in the studio.

"Cardi's just on that one part, do you think we should do some ad-libs with her?" J.Lo asked Khaled, in the video, reposted by Los Angeles' Power 106 radio station. "Just tell her, 'Are you good, and do you wanna put anything on this? 'Cause we're releasing it tomorrow.'"​Though Lopez did not reveal the exact release date of "Dinero," she did say "it's coming out soon," so stay ready!

Avery Lipman, Sir Lucian Grainge, Luis Fonsi, Cary Sherman and Jesus Lopez attend Sir Lucian Grainge's 2018 Artist Showcase presented by Citi with support from Remy Martin on Jan. 27, 2018 in New York City. On the eve of the Grammys, with nominations for both song and record of the year, "Despacito" -- the smash hit by Luis Fonsi and Daddy Yankee, and its remix featuring Justin Bieber -- got a different sort of award.

The track and remix were officially certified diamond by the Recording Industry Association of America (RIAA), which translates to 10 million or more sales and streams in the United States. ​The accomplishment makes “Despacito” one of only 18 songs to achieve diamond status, and the first Latin song to ever do so.

Fonsi, who is signed to Universal Music Latino/Republic, received his RIAA recognition during Grammy week at a ceremony with Avery Lipman, Sir Lucian Grainge, Jesus Lopez and the RIAA’s Cary Sherman.

On Wednesday (December 27), Shakira announced a six-month postponement of her El Dorado World Tour due to vocal chord damage.​"To my dear fans and friends, I wanted to write one more letter to express my gratitude to all of you for the immeasurable love and support that you have sent me these past few weeks," Shakira wrote on Instagram.​She continued:

"You have made me feel that my voice is not only mine but also yours, and that it has a purpose. There were times when your prayers and messages of affection and encouragement along with those of my family were the only thing buoying my spirits. Though I very much hoped to be able to recover my vocal cords in time to pick the tour back up in January, and after exploring many options to that effect, I have accepted that this is an injury that simply needs more time and care to heal. I feel for all of you who planned ahead to come to these shows and who have been so patient as I took the time needed to figure out the best course of action with my doctors."

Thankfully, the artist's tour will resume in June 2018: "I am so relieved and happy to share with you that I will be getting back on the road in June 2018 with my El Dorado World Tour in Europe, and the US, with Latin America dates to be announced soon," she wrote.

"I am very proud of this show; I feel it’s my best yet, since it has a repertoire filled with heartfelt songs and exciting moments of music and dance," Shakira gushed. "I really can’t wait for June! I promise to give you all of me and more from the minute I get on that stage and I am counting the days till [sic] showtime!”​In November, Shakira revealed that she suffered a hemorrhage on her right vocal chord. Her tour was supposed to relaunch on January 9 in Orlando, Florida.

Brazil’s Anitta has gone back to her baile funk roots with the song “Vai Malandra” and a video shot in Rio de Janeiro’s Vidigal favela.

The clip follows her Latin chart hit “Downtown” with J Balvin (currently at No. 28 on Hot Latin Songs), and her first English-language single with Poo Bear and “Is That For Me” with Swedish dance producer Alesso.

The video, which has notched nearly 37 million YouTube views since its debut Monday (Dec. 18), sparked commentary in Brazil over everything from Anitta’s flaunting favela fashion in a bikini made from insulation tape, to the racial authenticity of the singer’s braids, to whether the video exploits or celebrates women.

Rio’s Secretary of Health even Tweeted a warning (in the form of a rhyme) of the danger that the video, with scenes on a rooftop covered with stagnant water, is promoting a message that could lead to the spread of mosquito-carrying diseases.

An immediate conversation starter was the fact that the video was directed by Terry Richardson, the fashion photographer recently banned by Vogue, Elle and other magazines in the wake of sexual assault allegations.

“…When we are experiencing such an important moment in which women are raising their voices against sexist abuse, harassment and violence in the cultural industry … the least we should do is guarantee the ostracizing of the abusers,” cultural anthropologist Juliana Borges wrote in an article about the video in the on-line edition of Brazil’s Claudia magazine, referring to the choice of Richardson as director.

The video was shot in August, before major media companies dropped Richardson (although allegations about the photographer’s behavior with models had come to light over the past decade.) In a statement to the press, Anitta said that she had consulted with lawyers after learning about the charges.

A close up of Anitta’s butt jiggling in red shorts sets the esthetic tone for the clip for “Vai Malandra,” which translates as “Go Bad Girl” (Brazilian media have noted that the Anitta forbade the editing out of her cellulite). The video features a roof party full of tanga-clad women, as well as some equally bared and oiled male models and local non-actors with peroxide crew cuts.​“The exaggerated sexualization [in the video] puts Anitta up several notches on the vulgarity scale of Nicki Minaj,” wrote one critic in the national newspaper O Globo, who allowed that while lyrics of the song like “playing with the bum-bum” were fun, they didn’t jibe with Anitta’s image as “a feminist icon.”

But in a deep analysis of the video on the website cartacapital.com, the writer Victoria Damasceno countered that “Anitta also sexualizes the male body... subversively, the singer uses female stereotypes placed as negatives to revindicate the power over the body itself.”

In a column posted by the Brazilian edition of the magazine Marie Claire, writer Stephanie Ribeiro “reflected on the accusations of cultural appropriation” that have stirred social media since the video’s release. She accuses Anitta, who was born into an interracial family and grew up in the inner city, of “using blackness when it is convenient.”

The critic calls Anitta’s appearance with long brunette braids and tanned skin in the video evidence that she is “fantasizing” about being black. “I feel bad when I see how our black esthetic continues to be a “fantasy,” writes Ribeiro.But for Borges, writing in Claudia, Anitta’s video presents favelas and marginal neighborhoods in a credible way and gives voice and power to the women represented.

The singer, it seems, would agree.​“I was able to have the opportunity to show what my origins were in this clip,” she told O Globo in an interview. “A little bit of what I experienced where I lived. Sunning on the roof, baile funk, moto-taxis and joy. The clip is uplifting, happy, full of life. Funk is part of who I am. I am really happy with the result [of the video] and the music.”

The iconic song from "Frozen," "Let It Go," was ripped off from a famous international artist, who is now suing everyone connected with the hit.

Jaime Ciero claims in a new lawsuit "Let It Go" was obviously inspired by his song, "Volar." Ciero recorded the song in 2008 and it was played globally. Ciero calls the song "a huge international success reaching millions of listeners and landing on numerous charts of the most popular, top-performing songs."

After taking home the Latin Grammy awards for Song of the Year, Record of the Year, Best Short Form Video and Best Urban Fusion/Performance for his smash hit with Daddy Yankee, "Despacito," Luis Fonsi dropped a brand new music video starring Demi Lovato at midnight Friday (November 17).

In the video for "Echame La Culpa (or "Put the Blame on Me"), the music superstars team up as lovers ready to make amends by taking the blame. Lovato sings in both Spanish and English on the upbeat, vibrant tune, pleading, "I don't really, really wanna fight anymore / I don't really, really wanna fake it no more / Play me like a fiddle, baby, just let it be / So come and put the blame on me."

Singer-playwright Lin-Manuel Miranda has corralled some of the biggest names in music for his Puerto Rico benefit single, “Almost Like Praying.” Proceeds from the song will go to the ongoing relief efforts in PR.

Fat Joe, who appears on the song, is very frustrated by the slow response of the Trump administration to help Puerto Rico. “We feel stranded. We’re U.S. citizens and Puerto Rico has paid their part,” he said.

“I have two little cousins that’s in the Army right now willing to give their life for this country, and the fact that it took so long to get any help out there, that’s what I mean,” he continued. “So we had to mobilize and power ourselves to collect canned food, and water and women’s hygiene toothpaste to give back to our own community and that we did.”​Fat Joe was able to collect 2 million pounds of food and water to fill ten huge planes for Puerto Rico. The Bronx rapper vows to make sure that the supplies go to the hardest hit areas of Puerto Rico.

In her new video for “100 Vidas,” Puerto Rican recording artist Calma Carmona takes us on a ride through authentic San Juan after dark, from sweaty dance parties to late-night horse races. The Álvaro Aponte-Centeno-directed video sets Carmona's warm and sultry vocals against intimate scenes of boxers training in the ring and abuelos playing dominoes.

​The Latin soul singer, who opened for Beyoncé during her Mrs. Carter World Tour in Puerto Rico, has lived in various U.S. states, Germany, and her home of Puerto Rico

“100 Vidas” is Spanish for “100 lives.” It’s a love song that plays with the subjects of past lives, déjà vus, and destiny. “100 Vidas no me dan para amarte como se debe” / ”100 lives aren’t enough to love you.” Produced by Carlos Mercader, the guitarist, and I, we chose sounds that moved us, rather than choosing a particular genre: atmospheric electronic pads, soulful guitar and bass, and Afro-Latin percussions. [It's about] selecting and mixing colors that make you feel a certain way, until the painting feels complete.

The video shows a raw glimpse of where we’re from, where we live, in the Caribbean. Although it only shows just a few subcultures in different towns, including San Juan, we wanted to remind people that Puerto Rico is an island in the Caribbean, that has so much in common with our neighbor islands. It’s full of rich subcultures, yet within this coexistence it never feels divided. You can easily experience all these layers and always feel at home, welcomed.